The arrival of the second avant-garde period in postwar art produced irreversible changes in the conception of creation. The art was integrated into society with an unusual vigour. Works and artists became a new product of media consumption. However, some remained stuck in the past: the free entry of art in society did not include the free entry of women in the creative field. The revolution against the status quo, which revealed itself as the defender of the new, enclosed within constructions arising from the obsolete tradition of the role of women in art expression.

Andrea Fernández Alonso is a graduate in Art History from the University of Valladolid and works in the field of cultural management in Barcelona.